Article
French
ID: <
10.4000/aes.1019>
·
DOI: <
10.4000/aes.1019>
Abstract
During the romantic period, analogy becomes both a way of expressing as well as a way of knowing the world. Reading three authors (Fourier, Toussenel and Baudelaire), this paper will examine one of the most singular aspects of this analogical paradigm: the « passional analogies » without any physical resemblances, drawing a network between beings and things beyond reigns and appearances. This cosmology invented by Fourier is both hermeneutics and an analogical grammar allowing to see beyond what is visible and to discover the emblem that each element embodies. Expounding this theory will enable to understand the significance of Baudelaire’s hieroglyphic animals and to grasp a complex aspect of the analogical thinking of the nineteenth century.